Check the Category Labels in the side-bar on the right! There you can find animator drafts for sixteen complete Disney features and eighty-five shorts,as well as Action Analysis Classes and many other vintage animation documents!

Clair Weeks, who was Marc Davis' assistant, is credited for the scenes of Tink where she is larger in the field than in the other scenes. This could actually mean three things: 1) Weeks animated the scenes, 2) Davis planned them and passed the job of actually animating them to Weeks, and 3) Davis animated them, Weeks then assisted and became the contact person on the scenes - for as I wrote earlier, these sheets were created to designate responsibility. The only real way of figuring this out is looking at the scenes themselves - one can make stylistic judgements, of course, but the only proper way is looking at the scene folders and drawings, which may or may not exist and may or may not reside in the A.R.L...

(As always, I welcome comments, even if it's about the first time you saw the film or your meeting one of the animators etc.)

4 Comments:

Eric Larson, Hal King, Don Lusk and Harvey Toombs animate scenes with all five characters together, but the only "new" bit of casting is that Don Lusk gets some scenes of Tink on her own... he and Harvey Toombs also get scenes where Wendy and Peter are prominent, while Hal King gets the scenes which focus on John and Michael.

It makes sense that Lusk would get the scenes with the swans and fish, as we've seen him animate incidental animals before. His scenes of Tink make sense as well, as he seems to have animated under Marc Davis' supervision in some sequences of Alice in Wonderland.

It's a rather lovely sequence to watch and certainly one of the highlights of the cartoon.

That umbrella gag animated by Hal King is a scene I always look that because of the very solid timing. Don Lusk animated the scenes with the fish? Called it.

Eric Larson was the most acknowledged animator on that sequence and yet he only animates a small part on his sequence - which is that long 48 feet scene of the characters flying in perspective. Must've been very difficult to stage and animate. Of course - that scene stands out more than the other animated scenes.

This is indeed a clip from an acetate with the final scoring session, which I do not expect anyone to have heard elsewhere recently... The song was recorded in small bits, then stuck together like a puzzle, to sound as it does in the final edited version. I bet the Iron Pencil reared it's head there! Having recently gone through final mix on my own feature film, I find this stufff exceedingly interesting, myself...

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About Me

Interested in animation since 1975, worked in Holland with Danish animator Børge Ring for four years (incl. on the Oscar-winning 'Anna & Bella'), then moved to Denmark in 1984.

Co-founder and co-owner since 1988 of A. Film, Europe's foremost animation studio, in business for over 25 years. We are the studio behind 'The Flight before Christmas', 'Help! I'm a Fish', 'Terkel in Trouble', 'Asterix and the Vikings', 'The Ugly Duckling and Me' and many more...

Currently the President and CEO of A. Film L.A., Inc. in Los Angeles,and director of "Miffy the Movie."

Though we are very involved in new techniques, I share a deep passion for Great Classical Animation with everyone at the studio;Frank Thomas and Ollie Johnston's "Illusion of Life" is our bible.